Monday, June 15, 2026

THE FRENCH BAGUETTE : CRUST, CRUMB AND REVOLUTION

                                                                    
                                                                                 




The French Baguette: Crust, Crumb and Revolution

 

The baguette is France in bread form. Long, lean, crackling and unapologetically simple; it is flour, water, salt and yeast transformed into a daily ritual. Few foods are so closely tied to a national identity. In India, Chapatis, Naan and Parathas occupy a similar place at the table. In France, the baguette is the bread that accompanies almost every meal and punctuates the rhythm of everyday life. Its simplicity is part of its beauty. By law, a baguette de tradition française can contain only four ingredients: flour, water, salt and yeast. No additives, preservatives or artificial improvers are permitted. What emerges from those humble ingredients is one of the world's most recognisable foods, with a golden crust that shatters at the first bite and a soft, airy crumb within. Yet the baguette is more than bread. Its story runs through Parisian streets, revolutionary politics, labour laws, artisan craftsmanship and the unmistakable aroma that drifts from boulangeries before sunrise.

Bread, Revolution and the Idea of Equality

To understand the baguette, one must first understand the importance of bread in French history. Before the French Revolution of 1789, bread was not merely food. It was a political issue. Bread formed the foundation of the French diet, especially for the urban poor. When harvests failed, or grain prices rose, bread became expensive, and shortages could quickly lead to unrest. White bread was often associated with wealth and privilege, while poorer citizens relied on darker, coarser loaves. Access to good bread reflected social inequalities that fuelled resentment against the monarchy and aristocracy. The famous phrase "Let them eat cake", whether Marie Antoinette ever uttered it or not, became a symbol of the perceived indifference of the ruling classes to the struggles of ordinary people.

During the Revolution, successive governments attempted to regulate bread prices and production. The belief emerged that access to bread was not simply a matter of commerce but a public responsibility. Bread became intertwined with the republican ideals of equality and citizenship. The baguette itself did not emerge until much later, but it inherited this cultural significance. In France, bread was never just food. It was part of the social contract.

How the Baguette Became French

The modern baguette appeared in the late nineteenth and early twentieth centuries. Historians debate its exact origins, but several factors contributed to its rise. Austrian baking techniques introduced to Paris during the nineteenth century helped transform French bread making. Steam-injected ovens produced loaves with crisp, glossy crusts and lighter interiors. These innovations were embraced by Parisian bakers and gradually influenced local bread traditions.

Another factor may have been labour legislation. A 1919 law restricted the hours bakers could begin work. Long, thin loaves baked more quickly than large, round country breads, making it easier to provide fresh bread for customers in the morning.

Whatever its precise origins, the baguette was perfectly suited to modern urban life. It baked quickly, sold quickly and was affordable to people from all social backgrounds. By the 1920s, it had become a familiar sight across Paris. Labourers, office workers, students and shopkeepers all carried baguettes home under their arms.

In 1993, France introduced the ‘Décret Pain’, a law designed to protect traditional bread-making. Under these regulations, a baguette de tradition française must be made on site using only traditional ingredients and methods. The dough cannot be frozen during production. This legal protection reflects a uniquely French attitude. Bread remains a matter of cultural heritage, not merely commerce.

The Smell of Morning in Paris

Anyone who has walked through Paris shortly after dawn will recognise the scent. It arrives before the bakery comes into view. There are notes of toasted wheat, caramelised crust and gentle yeast. Warm air escapes from the ovens and drifts through the streets. It is one of the city's most distinctive aromas. Most artisan bakers begin work around four o'clock in the morning. By six o'clock, the first batches are emerging from the ovens. Customers begin to gather outside, waiting for bread that is still warm.

The smell is fleeting because the baguette itself is fleeting. Unlike industrial bread packed with preservatives, a baguette is at its best during its first few hours. The crust gradually softens and the crumb slowly loses its freshness. This is why many Parisians buy bread daily. The habit is not unlike visiting the neighbourhood bakery in Kashmir for fresh Girda or Lavasa, or buying freshly made Rotis from a local tandoor in parts of North India. Morning queues at the local boulangerie are part of daily life. Parents stop on their way to school. Office workers collect bread before commuting. Retirees exchange local news while waiting their turn.

In 2022, UNESCO recognised the "artisanal know-how and culture of baguette bread" as part of the Intangible Cultural Heritage of Humanity. Importantly, UNESCO did not protect the recipe. It protected the culture surrounding it. The morning queue, the neighbourhood bakery, the skills of the baker and the rituals of daily bread buying are all considered part of France's living heritage.

 A Bread for Every Meal

One reason the baguette remains so beloved is its versatility. It fits naturally into every meal of the day. Breakfast often begins with tartines. Slices of baguette are spread with butter and fruit preserves, then enjoyed with coffee, tea or hot chocolate. The simplicity may remind Indian readers of buttered toast with chai. There is nothing elaborate about it. The quality of the bread does most of the work. Day-old baguettes are frequently used for breakfast because toasting restores much of their texture. At lunch, the baguette reaches its full potential as a sandwich. One of France's most famous lunches is the jambon beurre, but modern bakeries offer countless alternatives. Chicken with herbs, tuna salad, cheese with tomato, roasted vegetables and goat's cheese are all common fillings. For Indian visitors, imagine the role played by a fresh bread roll filled with Paneer-tikka, grilled chicken or spiced vegetables. The principle is the same. Simple ingredients become memorable when the bread is exceptional. Office workers often buy a sandwich and eat it on a park bench, beside the Seine or at their desks. It is quick, affordable and satisfying. At dinner, the baguette becomes an essential companion. Bread is used to accompany soups, salads, stews and cheese. It is also used to soak up sauces and dressings left on the plate. Far from being considered impolite, this practice is entirely normal. A meal without bread often feels incomplete to many French families. Like rice in many Indian households, the baguette occupies a permanent place on the table. It is not the main dish, but the meal feels unfinished without it.

It is also the ultimate emergency meal. A fresh baguette, some Camembert, a ripe tomato and a little fruit can become dinner when there is no time to cook. Students, young professionals and families rely on this simplicity.

Cutting and Serving a Baguette

A baguette deserves proper treatment. Always use a serrated bread knife. A blunt blade crushes the delicate crumb and destroys the texture that makes the bread special. For breakfast tartines, diagonal slices provide more surface area for butter and jam. For sandwiches, slice the baguette horizontally while leaving one edge attached. This creates a hinge that keeps fillings secure. At the table, many people simply tear pieces by hand. The prized end piece, known as the quignon, is especially valued for its crunchy crust. In many households, it is the baker's reward or the cook's privilege.

One important rule is never to cut the entire loaf in advance. Exposing the crumb to air accelerates staling. Slice only what you need.

 

Storage: Why the Fridge Is the Enemy

Every French baker will tell you the same thing: never store a baguette in the refrigerator. The cool temperature accelerates the process that causes bread to go stale. The crust becomes leathery, and the crumb turns dry and unpleasant. For the same day, keep the baguette in its paper sleeve or wrap it in a clean linen cloth. Stored correctly, it will remain enjoyable for several hours. If you cannot finish the loaf, freezing is the best solution. Slice it first, wrap it carefully and freeze it for up to three months. To revive a frozen baguette, lightly moisten the surface and bake it in a hot oven for a few minutes. The moisture restores the crumb while the heat revives the crust. A day-old baguette also has many culinary uses. It can be transformed into French toast, breadcrumbs, croutons or stuffing.

What should never be used is a plastic bag at room temperature. The crust loses its crispness, and mould develops more quickly. The baguette needs to breathe.

Why It Still Matters

France consumes billions of baguettes every year. Despite the growth of supermarkets, convenience foods and changing dietary habits, the neighbourhood  boulangerie remains a cornerstone of French life. The baguette endures because it represents something larger than itself. It is affordable, familiar and shared across social classes. The same loaf purchased by a student can also appear on the table of a business executive. It belongs to everyone. In a country where bread once sparked riots and helped shape a revolution, that symbolism still matters.

The baguette is daily proof of a social contract. Every morning, before most of the city has awakened, bakers rise to mix dough, shape loaves and heat ovens. By dawn, fresh bread is waiting for anyone who walks through the door.

So tomorrow morning, whether in Montmartre or the Fifth Arrondissement, the ritual will begin again. The ovens will warm, the aroma will drift into the streets, and customers will queue for their daily loaf. Someone will leave with a baguette tucked under their arm and tear off the quignon before reaching home. That first crack of the crust carries more than flavour. It carries centuries of history, craftsmanship and tradition. It is the sound of Paris waking up.

( Avtar Mota )



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Saturday, June 13, 2026

ABHAY RUSTOM SOPORI: THE NINTH GENERATION CUSTODIAN OF THE SANTOOR

                               




                                         

 ABHAY RUSTUM SOPORI: THE NINTH GENERATION CUSTODIAN OF THE SANTOOR

 

In the vast and exacting world of Hindustani classical music, Pandit Abhay Rustum Sopori represents a rare confluence of inheritance, discipline and contemporary vision. Sober, cultured and refined beyond his years, he is the present custodian, Uttaradhikari and Khalifa of the ancient Santoor tradition of India and the fabled Sopori-Sufiana Gharana, the oldest known tradition of the Santoor, the Shatatantri Veena of Kashmir. He is the son of the legendary Santoor maestro and composer, Pandit Bhajan Sopori, hailed as the ‘Saint of Santoor’ and the ‘King of Strings’, and the grandson of the great master musician,  Pandit Shamboo Nath Sopori, revered as the ‘Father of Music’ in Jammu and Kashmir. Pandit Shamboo Nath Sopori’s legacy as a Guru endures through the 35,000-plus students he trained, a generation that includes distinguished musicians, performers and teachers.

A graduate in Management, Computers and Music with an M.Mus and Ph.D in Music, Abhay was born in Srinagar and inherited a profound sense of music from his fabled ‘Sopori-Sufiana Gharana’ of Kashmir, the exclusive traditional Santoor family of India with its roots spanning over 10 generations and more than three centuries. Trained under the traditional Guru-Shishya Parampara of his mystic Shaivite-Sufi tradition from his grandfather and father, he now carries this lineage to audiences across the globe. Through relentless Riyaz, large-scale ensembles, film composition, humanitarian concerts and collaborations with the world’s foremost orchestras, he is cultivating new generations of listeners for the Santoor and for Hindustani classical music itself.

The Sopori tradition has been a divine unison of spirituality and music. Each master has made unique contributions to Kashmiri Shaivite and Sufiana music, known as Shaiv-Sufi Gayan, through profound spiritual wisdom, mastery of sound therapy, and the shaping of a distinct musical identity. For more than 300 years, this Parampara has served as the custodian of the Shatatantri Veena, the Santoor. Some Master-musicians of the Sopori-Sufiana Gharana are:

- Pandit Som Joo Pandit

- Pandit Sudh Joo Pandit

- Pandit Sahastra Joo Pandit

- Pandit Suraj Pandit

- Pandit Shankar Pandit

- Pandit Samsar Chand Sopori

- Pandit Shamboo Nath Sopori

- Pandit Bhajan Sopori

- Pandit Abhay Rustum Sopori

 The Sopori-Sufiana Gharana: More Than 300 Years of Upasana Through Music

The Sopori-Sufiana Gharana is Kashmir’s sole surviving classical Gharana. It is a tradition with known history since 1700, spanning more than 300 years old that fuses the grammar of Hindustani music with the spiritual poetry of Shaiv - Sufi mysticism and the melodic soul of Kashmiri folk. It is not merely a school of technique. It is a philosophy in which music is Upasana, or worship. Its modern foundation was laid by Pandit Shamboo Nath Sopori, whose erudition in Shastra and Prayog_gave the Gharana_its intellectual depth. His son, Pandit Bhajan Sopori, gave it global reach. He was not only a virtuoso performer. He was a cultural architect. He scored music for thousands of Kashmiri songs and is credited with revolutionising Kashmiri composition by introducing Hindustani classical instruments and structures along with orchestration into traditional Kashmiri music. In doing so, he built a durable bridge between the Valley’s indigenous idiom and the wider edifice of Indian classical music. He also created several new ragas for Hindustani classical music, expanding its emotional and melodic vocabulary whilst remaining faithful to its Shastric roots. His technical innovations on the Santoor, including the development of Gayaki-ang that enabled the instrument to emulate the nuances of the human voice, an expanded tonal range across octaves, and a refined Kalam technique, transformed the Santoor from a Kashmiri accompaniment into a complete solo classical instrument.

Abhay Rustum Sopori’s mother, Professor Aparna Sopori, is an academic. The home was a true Gurukul. He recorded his first song as a singer at the age of three for a musical feature for All India Radio, composed by Pandit Bhajan Sopori. He participated in various festivals as a child, including his father’s grand choral presentation featuring over 8000 voices in Srinagar in 1985. Trained by his father from the age of four, his life was ordered by Swara-sadhana, Taalim (training) and Tehzeeb (refinement). He gave his first public performance at seven. For him, the hundred strings of the Santoor were not an instrument he chose. They were his mother tongue. He inherited not just notes, but a worldview: that a musician is, first, a servant of the art.

The Santoor: From Shata-Tantri Veena to Concert Stage

The Santoor’s lineage traces back to the Shatatantri Veena described in ancient Vedic texts. Fashioned from seasoned Kashmiri mulberry, its trapezoidal body carries over 100 strings of fine steel and brass stretched across movable bridges. It is played with two light, curved walnut mallets called Kalam. The resulting sound is unique. It is at once percussive and ethereal, capable of evoking temple bells at dawn, the patter of monsoon rain, or a profound meditative stillness.

For centuries, the Santoor belonged to the Sufiana Mausiqi tradition of Kashmir, played in the intimate settings of Mehfils. After its introduction to the national Hindustani concert platform, Pandit Bhajan Sopori gave it the comprehensive classical grammar, repertoire and concert presence. He systematised its Raagdaari, composed new Gats, and established its pedagogical framework.

And Abhay has inherited this concert-ready, classically evolved Santoor and continues to advance it. His instruments are custom-built to his acoustic specifications, with innovations that improve sustain, tonal clarity and access to the Mandra and Taar-saptak. He has established the concept of Gayan-vadan-baaj, the vocal-instrumental system, and Been–ang in the Indian classical system. He introduced the ‘Open String Concept’ on the Santoor together with the ‘Enhanced Sustain Technique’, giving a new dimension to the sound of the Santoor. He has also invented, designed and introduced a new 30-stringed instrument called Sur Santoor. In his hands, the Santoor is not a novelty or an instrument of mere virtuosic display. His Alaap unfolds with the patience of a Dhrupad singer, note by note, establishing the Raga’s mood and spiritual centre. His Jor builds with mathematical logic. His Taans possess the fluidity of a Khayal vocalist, and his Jhala arrives not as speed for its own sake, but as an inevitable, ecstatic culmination. He renders the Tappa and Thumri idioms with equal authenticity, proving the Santoor can articulate the entire emotional, devotional and philosophical expanse of Hindustani music. Presentation of Dhrupad Ang along with the accompaniment of Pakhawaj is also a special characteristic of his Sopori Baaj. He is known for his Raagdari, Chhandkari, Layakari, Gayaki and Tantrakari Angs such as Meend, Gamak, Krintan, Zamzama, Ghaseet, Taan and Bol patterns, Dhrupad Ang, which are essential for the correct rendering of Raga-Sangeet in the true Indian Classical tradition. Another unique quality of his presentation is that he can also sing the composition along with its instrumental rendering, reviving his traditional Shaivite-Sufi Parampara of Kashmir. With his research, Pt. Abhay Sopori has established that the Kashmiri Santoor is a precursor to the resembling Santoor-like instruments found in other parts of the world and that the Indian Santoor has Shaivite cultural origin in Kashmir and is not a foreign adaptation.

Pt  Abhay Rustum Sopori's mastery of the Santoor lies in his ability to transcend the instrument's apparent limitations and reveal its extraordinary expressive potential. The beauty of his playing emerges from its shimmering, almost celestial resonance, where every note seems to radiate far beyond its initial strike. Although the Santoor didn’t permit the continuous vocal-style glide (Meend) of a singer or certain stringed instruments, Pt. Bhajan Sopori and Abhay’s consummate command of dynamics, tonal nuance, and intricate ornamentation overcame this handicap to create the impression of seamless melodic movement. Through subtle variations of touch and the skilful manipulation of resonance, Abhay allows notes to bloom, overlap, and dissolve into one another with remarkable grace. He is not merely striking strings; he is painting with echoes, crafting soundscapes of rare delicacy and depth that captivate the listener and evoke the lyrical spirit of the human voice.

Innovation in Composition and Raga Creation

Pt. Abhay Sopori has revived the old Shaivite-Sufiana compositions of his predecessors and adopted them in the Indian Classical scenario, and also written and composed dozens of new Khayal Bandishes. He has also composed and introduced many new Ragas which have been widely acclaimed by music connoisseurs and critics:

- Raga Nirmalkauns (2009) named after Mataji Nirmala Devi

- Raga MahaKali (2019) named after Goddess Mother Kali

- Raga Sharda (2020) is named after Goddess Mother Sharda

- Raga Bhajaneshwari (2023), a tribute to his father and Guru Pt. Bhajan Sopori

- Raga Bhagwati (2024) is named after Goddess Mother Durga

- Raga Bharati (2026) dedicated to the Nation and Motherland India

Some of the hallmarks of Pt. Abhay Sopori’s performances are mellifluous playing, lightning tempo, clarity and accuracy of Raga exposition and adoption of the Sopori Baaj, the unique style of playing Santoor created by Pt Bhajan Sopori. The Sopori Baaj is the formal system of playing the Indian classical Santoor and incorporates all the essential technical and stylistic nuances of both the Gayaki and Tantrakari Angs.

Riyaz as Upasana: The Architecture of a Maestro

If one word defines Abhay Rustum Sopori, it is discipline. In an age defined by distraction and instantaneity, his commitment to Riyaz is absolute and non-negotiable. For him, Riyaz is not practised in the Western sense of rehearsing for a performance. It is Upasana, meaning daily, solitary worship. His day begins before sunrise with vocal Swara-sadhana, because he believes the voice is the source of all music and the Santoor must learn to sing. This is followed by several hours on the instrument. He observes the traditional Chilla, forty days of intensive, secluded practice, to internalise new concepts. He studies rare Bandishes and compositions preserved in his family’s manuscripts, some over a century old. He continually practices rhythmic structures because he insists that a soloist’s command of Laya and Taal must be absolute. He studies the theory of sound, the acoustics of Mulberry, and the poetry of the saints whose words his Gharana has carried for generations.

This profound discipline is immediately visible on stage. He is sober in demeanour. He is meticulous about tuning, often spending considerable time ensuring each of the hundred strings is perfectly aligned to the Shruti of the Raga. He is unfailingly respectful to his accompanists, treating the concert as a dialogue, not a solo exhibition. He allows silence to settle in the hall before he sounds the first note, letting the raga emerge from stillness without haste or aggression. Senior artists and critics consistently note that his maturity, his Sangeet-soch, is beyond his age. That maturity is not accidental. It is the audible, tangible result of thousands of hours of Riyaz.

                                          

               
                                                                      ( Pt Bhajan Sopori )                                                  
         
                   ( Pt Abhay Rustom Sopori and Zubin Mehta performing together at Shalimar Garden, Srinagar)

    
                                  
                                                        (Pt Abhay Rustom Sopori takes a bow )

 

Global Ambassador: Concerts, Ensembles and Historic Collaborations

Pt  Abhay Sopori started his musical career as a Santoor player in the mid-1990s in Delhi and has since then participated in prestigious concerts and festivals across the world in countries like Austria, Bahamas, Bahrain, Belgium, Brazil, China, Czech Republic, Dubai, Estonia, Finland, France, Germany, Hungary, Iran, Israel, Italy, Japan, Luxembourg, Malaysia, Mauritius, Morocco, Netherlands, Russia, Singapore, Slovakia, Slovenia, South Korea, Spain, Sweden, Switzerland, Thailand, Ukraine, USA, Vietnam, and others. He has served as the youngest Visiting Faculty member at the University of Massachusetts, USA, and as a Guest Professor at the Central Conservatory of Music, Beijing, China. He happens to be the first Indian Classical musician to be invited to the international conference TEDx. He has also been an External Examiner to various universities in India and has been part of several seminars. He has given Lecture-Demonstrations across the world, enrolling youth in Indian Classical music, promoting Santoor, Indian music, and Folk music.

Pt. Abhay Sopori composed and conducted his first J&K Folk Music Ensemble in 2003, featuring around 75 musicians, and since then has presented the ensemble at various festivals in India. He also introduced the concept of a Sufi music ensemble titled Sufi Kinship in 2011, featuring 35 musicians, and a Santoor-led Indian Classical Music Ensemble in 2014, featuring 25 musicians. He has also composed and conducted several choral music presentations.

He is the only contemporary composer of India whose composition has been conducted by the legendary music maestro Zubin Mehta. Pt. Abhay Sopori scored the music for one of the most acclaimed fusion works presented in Kashmir in 2013, performed by the Bavarian State Orchestra of Germany, one of the topmost orchestras of the world, together with Pt Abhay’s Kashmiri ensemble featuring over 100 musicians. He also had the rare honour of being the only composer and conductor to share the stage and co-conduct along with Maestro Mehta. The concert was telecast live in more than 100 countries, giving international recognition to Kashmiri music and creating history in the world of music as the first-ever musical work of its kind. His other international collaborations include presentations and concerts with the world-renowned Austrian Vienna Boys Choir, Moroccan Lute maestro Haj Younis, Iranian Santur maestro Dr Darius Saghafi and maestro Siamak Aghaei, American Dulcimer maestro Malcom Dalgish, French Clarinet player Laurent Clouet and others, including some of the leading Dulcimer players of the world.

He created and conceptualised World Santoor Day, which is celebrated in India and abroad on 22nd June, bringing the Santoor players together on one stage as one family for a better future of the instrument.

 Cinema, National Projects and Composition

Pt. Abhay Sopori has more than 75 notable releases to his credit. His music in the Bollywood film Shikara (2020), Songs of Paradise (2025), and the web series Tanaav (2021) has been lauded for bringing the authentic sounds of Kashmir to commercial cinema. His other acclaimed musical works include films like Afwaah (2023) and National and International Award-winning films like Unwoman (2023), Haput (2024), Sarva-vyapak Bhagwan Gopinath Ji (2025), Ziyarat (2011), and Bub (2001). He has composed music for some documentaries, telefilms, short films, serials and also award-winning films, including Mahatma, a documentary film by the Government of India on Mahatma Gandhi, presented at the United Nations marking the first International Non-violence Day in 2007. His compositions have been trendsetters and some of the greatest musical hits of Jammu and Kashmir.

Some of his other prestigious works include: Composed music for Ekta Diwas 2025 for various films by the Government of India. He also composed the title music for the Republic Day Parade 2024 for the National Network Doordarshan, apart from composing the Channel ID and Channel Music for DD Kisan in 2024. He also composed the background and title for the prestigious International ABU TV Song Festival 2022, representing India, as the host country, by the National Network Doordarshan. He composed music for Streedesh, a dance drama on the forgotten female warriors and rulers of Kashmir by the Government of India in 2022, conceived and presented by legendary Dancer Dr Sonal Mansingh. Engaged by the Government of India, he composed and conducted the J&K Folk Music Orchestra for Sangeet Natak Akademi, representing India at the SCO Shanghai Cooperation Organisation (Russia) in 2021.  In 2019, he co-composed the highly acclaimed folk instrumental version of ‘Vaishnav Janato’, a path-breaking concept of Prime Minister Narendra Modi. In 2018, he co-composed the prestigious ‘Ek Bharat Shresth Bharat’ song, which also featured the Hon’ble Prime Minister Narendra Modi.

Cultural Revolution in Jammu and Kashmir and Seva

Regarded as a Cultural Icon of Jammu and Kashmir, Pt. Abhay Sopori has been instrumental in introducing ‘Cultural Policy’ in J&K and also in introducing music as a subject in colleges in various districts of Jammu and Kashmir. This initiative, also called the ‘Music Initiative’, was a major step in the educational system of Jammu and Kashmir, creating new academic streams in colleges and universities as well as new job opportunities for the youth in J&K. His efforts have also paved the way for the introduction of the PG Programme Master’s Degree in Hindustani Music in Kashmir in 2024. Pt. Abhay Sopori has been working in Kashmir since 2000, spreading the message of peace through music and reaching out to the youth in far-flung areas. Under the aegis of his father, Pandit Bhajan Sopori ji, he opened the music academy and organisation named SaMaPa, Sopori Academy of Music and Performing Arts, in 2005, which is now a prominent name in the music circle of India. He has the credit of initiating path-breaking events in J&K and Delhi. Pandit Abhay Sopori introduced the concept of ‘Common Song’ under which various songs were released promoting peace, communal harmony and brotherhood, presenting some of the biggest musical hits of Jammu and Kashmir. He has not only established himself as a preeminent musician of the present era but has simultaneously promoted thousands of upcoming and talented musicians of the country. Further, he has always been at the forefront to raise funds and mobilise resources through his charity concerts for various medical and social causes and also catastrophes like the Kashmir earthquake and the J&K floods.

 Awards and Recognition

Throughout his career, he has garnered hundreds of National and International accolades, titles and awards. He has been the youngest recipient of almost all the awards that he has received in recognition of his outstanding contribution and achievements in the field of music.

 Key honours include: Award of Sangeet Chudamani, the Doctorate of Philosophy (Ph.D) in Music by Pracheen Kala Kendra, 2026, Swaranjali Samman 2026, Sangeet Ratna Award 2025,Best Background Music Score 2025 at Malaysia International Cine Awards (MICA) for the film Sarva-Vyapak Bhagwan Gopinath, Best Background Music Score 2025 at 10th Wallet Film Festival for the film Sarva-Vyapak Bhagwan Gopinath, Top Grade Music Composer Award by All India Radio, Govt. of India 2024, Dastarbandi_(Traditional Turban Tying Ceremony upon Pt Abhay Sopori by the artist and creative arts fraternity of Jammu and Kashmir proclaiming him as the Khalifa or  successor after Pt  Bhajan Sopori  and the Custodian of Santoor and Sufiana Gharana, and also an ambassador and torchbearer of the art and culture of Jammu and Kashmir) 2022, Mahatma Gandhi Seva Medal, Gandhi Global Peace Award by United Nations accredited Gandhi Global Family 2020 ,Top Grade Artist Award  Santoor by All India Radio (Govt. of India) 2019, Outstanding Artist by ICCR (Govt. of India) 2019, Atal Shikhar Samman_ 2017, Presented at the Parliament of India,State Icon title by Election Commission of India 2016, J&K Government Award, (Highest Civilian Award of Jammu and Kashmir) 2011, Sangeet Natak Akademi’s first Ustad Bismillah Khan Yuva Puraskar_ 2006, 1st Prize in the State Music Competition of the Academy of Art, Culture & Languages, Government  of Jammu and Kashmir 1989. His name features in various Biographical-Note Volumes of India and abroad like Asian Admirable Achievers, Asian American Who’s Who, Famous India’s Who’s Who, Asia Pacific Who’s Who, Biography of the Year, Famous India: Nation’s Who’s Who, Reference Asia, Kohinoor Personalities of Asia.

Sober, Cultured, Refined: The Man and His Music

To encounter Abhay Rustum Sopori off-stage is to understand the source of his on-stage presence. He is the embodiment of Tehzeeb (refinement), a cultured grace that is increasingly rare. He is soft-spoken, erudite and unfailingly courteous to all, from senior maestros to the youngest student. His intellectual interests are wide. He can discuss Kalidasa’s Sanskrit poetics, the metaphysics in Rumi’s Masnavi, and the specific density of Mulberry required for a superior Santoor resonance with equal ease. This culture is not a performance. It is the product of a Gharana and an upbringing where music was worship, and conduct was inseparable from art.

This sobriety is the secret of his art. Because he does not perform for applause, he has the patience to wait for the sum. Because his ego does not occupy the stage, there is space for the raga to reveal itself. In his rendering of Raag Ahir Bhairav, the Santoor evokes the quiet, devotional intensity of dawn. In his compositions based on the Vaakhs of the 14th-century Kashmiri mystic-poet Lal Ded, he becomes a conduit, carrying a profound spiritual philosophy to global listeners without exoticising or diluting it.

He is not an imitator of his father or grandfather. He is their extension into a new century. He honours Parampara, the tradition, with complete fidelity, whilst engaging in Prayog, meaning innovation, with courage and scholarship. This balance of reverence and relevance, of depth and accessibility, is the hallmark of a true maestro.

A Hundred Strings for a Fractured World

Through his unwavering discipline, intellectual rigour, cultural stewardship, and artistic refinement, the Sopori-Sufiana Gharana has found in Abhay Rustum Sopori not merely an heir to a distinguished legacy, but a scholar-musician of exceptional stature and a visionary custodian for the twenty-first century. Standing at the confluence of tradition and innovation, he safeguards a musical inheritance of remarkable antiquity while ensuring its continued relevance for contemporary audiences. In his hands, tradition is neither preserved as a museum relic nor diluted for modern consumption; rather, it is revitalised through scholarship, dignity, and creative insight.

His contribution extends far beyond the concert stage. As a musician, educator, composer, cultural ambassador, and humanitarian, he embodies the highest ideals of the Indian classical tradition, wherein artistic excellence is inseparable from service to society. Through his work, the Santoor has emerged not merely as an instrument of extraordinary beauty but as a medium for dialogue, understanding, and peace across cultures and continents.

In an age often characterised by fragmentation, distraction, and fleeting fashions, Abhay Rustum Sopori stands as a rare exemplar of continuity, substance, and grace. His music does more than entertain; it enlightens, elevates, and unites. Through his artistry, the wisdom of centuries finds a living voice, and through his example, future generations are reminded that true greatness lies not only in mastery of an art but in the capacity to enrich the cultural, intellectual, and spiritual life of humanity. He is, in every sense, among the foremost torchbearers of Kashmir's musical heritage and a distinguished representative of India's civilisational ethos on the global stage. Through him, the Santoor speaks not only of the mountains, rivers, and valleys of Kashmir, but to the wider world. Each stroke of his Kalam renders decades of Riyaz audible. Each performance becomes an act of Seva or service in its highest sense. Every film score, every charity concert in support of earthquake and flood relief, and every new Rasika inspired in a distant land advances the vision of his father and Guru, Pandit Bhajan Sopori. That vision was founded upon a profound belief: that the Santoor and the wisdom, peace, and beauty embodied within the Ragas belong not to any one region or community, but to all humanity.

In Abhay Rustum Sopori's music, a world too often fractured by noise and division encounters a hundred-stringed prayer: for peace, for healing, and for the welfare of the shared humanity.

(Avtar Mota)

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Friday, June 12, 2026

WHO SAVED PARIS CITY FROM COMPLETE DESTRUCTION IN SECOND WORLD WAR

                                                































(Raoul Nordling, former Swedish Consul-General to Paris)
(General Dwight D Eisenhower (1890-1969) Supreme Commander of the Allied Forces )
(General Dietrich von Choltitz)

(General Dietrich von Choltitz)
                                            

WHO SAVED PARIS CITY FROM  COMPLETE DESTRUCTION  IN SECOND WORLD WAR

 

"Aey  shahr tera naam-o-nishaan  bhi nahin  hota,

Jo  haadse hone thay  agar ho gaye hotay.."


(O city, not even your name would remain,

 If the disasters that were meant to happen 

had actually happened.)



For years I laboured under the misapprehension that, during the Second World War, Adolf Hitler had issued explicit instructions to his troops to leave Paris’s historic monuments and cultural sites untouched, as though the city’s incomparable beauty had somehow secured it a special dispensation. That comforting notion, repeated in popular histories and casual conversation alike until it acquired the weight of fact, was thoroughly dispelled during my present stay in the city. A careful examination of archival material and wartime correspondence revealed a far starker reality. Far from safeguarding Paris, the Nazi regime systematically looted its private collections on a staggering scale, converted the Palais Bourbon and other palaces into Luftwaffe and Wehrmacht headquarters, and by the summer of 1944 had wired the Seine’s bridges, Notre-Dame, Les Invalides and the Eiffel Tower with explosives. Hitler’s directive to General Dietrich von Choltitz in August of that year was unequivocal: : “Paris darf nicht oder nur als Trümmerfeld in die Hand des Feindes fallen” , the capital was not to fall into Allied hands except as a field of ruins. That Paris endures today, its skyline and stone still largely intact, owes nothing to restraint on Hitler’s part. It owes instead to a confluence of resistance, negotiation and, ultimately, one general’s refusal to ignite the fuses.


In August 1944, as Allied forces advanced on the French capital, Adolf Hitler issued repeated and explicit orders to destroy Paris. Early that month he commanded General Dietrich von Choltitz, the German military governor, to “stamp out” any insurrection “without pity” and to demolish the city’s waterworks, power stations and dozens of historic bridges across the Seine, including the centuries-old Pont Neuf and the Pont Alexandre III. On 20 August he demanded “the widest destruction possible”. Three days later, on 23 August, the order became absolute. Hitler cabled von Choltitz: “Paris must not fall into the hands of the enemy, or, if it does, he must find there nothing but a field of ruins”. He later asked his staff the infamous question, “Is Paris burning?” German engineers carried out the groundwork. Explosives were laid beneath every bridge across the Seine, at the base of the Eiffel Tower, in the crypts of Notre Dame, inside the Louvre, at the Palais Garnier and other monuments that defined the city’s cultural identity. The aim was not only military denial but the erasure of Paris as a symbol.


Yet Paris was spared. The man who disobeyed was General Dietrich von Choltitz. An aristocratic Prussian officer who took command of the city on 7 August 1944, he received Hitler’s demolition orders but refused to execute them. By his later account, he judged the destruction militarily futile. He had insufficient troops to hold Paris against Allied armour, and razing the capital would not change the outcome of the war. He also professed an “affection for the French capital’s history and culture”, calling the order “medieval” while looking out from his headquarters over the Tuileries, Place de la Concorde and the Louvre. Other historians note that the Parisian Resistance had risen on 19 August, and by late August von Choltitz had little practical control of the city. The speed of the Allied advance meant full demolition was likely impossible even had he wished to comply. One account credits Swedish Consul-General Raoul Nordling with appealing to his legacy, asking whether he wanted to be remembered as the man who destroyed Paris or the man who saved it. Whatever the decisive factor, von Choltitz kept Hitler’s order in his pocket and showed it to no subordinate.


On 25 August 1944, with Colonel Henri Rol-Tanguy’s Resistance fighters in control of key buildings and General Philippe Leclerc de Hauteclocque’s 2nd French Armoured Division entering the city, von Choltitz surrendered the German garrison at the Préfecture de Police on the Île de la Cité. He signed the terms of capitulation, ending four years of Nazi occupation. The charges under Paris’ bridges and landmarks were never detonated. For this, von Choltitz later became known, with some controversy, as the “Saviour of Paris”. Hitler, enraged, branded him a traitor and demanded his execution.


The significance of that decision was formally recognised 60 years later. On 25 August 2004, French President Jacques Chirac unveiled a commemorative plaque at the Préfecture de Police de Paris to mark the 60th anniversary of von Choltitz’s surrender. The tablet honours the moment Dietrich von Choltitz signed the terms of capitulation, ending the occupation. By choosing the Préfecture as the site, the ceremony tied two things together: the military liberation of the city and the survival of its bridges, monuments and cultural heritage. Though von Choltitz’s motives remain debated by historians, the commemoration positioned his refusal to execute Hitler’s “field of ruins” order as integral to the Liberation itself.


So who saved Paris in the Second World War? It was not one man alone. The French Resistance who rose against the occupiers, the Free French and Allied troops who fought into the city, and the Parisians who refused to yield all played their part. But the reason the Louvre, Notre Dame, and the Eiffel Tower still stand is because one German general disobeyed a direct order from Hitler. The plaque at the Préfecture de Police remains a reminder that 25 August marks not only the end of occupation, but the day Paris was spared from planned demolition.



( Avtar Mota )




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Based on a work at http:\\autarmota.blogspot.com\.